Toon Zelda redesigns! I've never been fond of the Toon Zelda design, and these girls deserve some individuality. Design notes and rambles below the cut :D

(time to turn the proper grammar off i aint capitalizing all this. warning: i am verbose)

first up, tmc zelda!

shes the one most like toon zelda, since i felt like the vibes fit the *most* (though not a lot). also, with her place on the timeline, i could justify a lot of bits, like the wings and the cape

the cape! obvs it comes from the toon zelda base design, but also it involves skyloftian fashion! i take the timeline as a challenge, and i once saw a take somewhere that the skyloftians all wear their family crests (most often birds lol) on their person. zelda here (and link too) do just that, wearing their family crests on little caplets. on the back is, of course the royal crest

i went very cutesy princess for her. tmc has such a *whimsical* vibe that i feel is very. muted? by the fact its stuck with the toon style. so i wanted to put in that vibe here. also her sprites make it look like her skirt is super poofy, so how could i not?

curly hair: i wanted something interesting, and most zeldas have straight hair. so! adds to the cuteness

i didnt draw it so well but she (and link) both have very sleepy expressions. zelda especially just has a sleepy expression in her sprite, its quite adorable.

shes not as decked out as other princesses, cuz i see tmc taking place before the royal family really starts to get *royal* as we see it. shes still of course got a tiara and some embroidery tho.

Tetra! her base design isnt all that changed from the original. her name is a fun hc of mine tho. i think "von Hyrule" sounds better as a surname than just "hyrule". shes not zelda, but shes still a descendant.

(WW) princess z (as i call her)

I went more oot zelda vibes for her, since she would be closer, temporally, to oot. i also went very warm, since ive never seen the flood as a *warm* endeavor.

shes got the shoulder danglies, as most zeldas have shoulder armor of some kind. the danglies instead of actual armor are supposed to kind of evoke a royal sea captain kind of vibe.

shes ghostly, with a fish-eyed stare. shes been dead and gone for a long time. shes also a bit taller and a few years older than tetra (as of ww). shes just some spectre the king saw in tetra, not at all a close match

tetra, being smaller than princess z, doesnt fit into the clothes. the dress is too big for her (as is in canon gd that skirt is WAY too long for her), the coat is baggy. the role of a princess *literally* does not fit her.

the ribbons! theyre my replacement for the wings, and they represent the wind in the game! since its represented by white lines, the ribbons are a perfect symbolic match. (also, a note, tetras hair is shorter and coarser than princess z's)

i mostly bullshitted the blue panel but the vague idea i gave it was 'a hope for the triforce to give good fortunes to the people' (pictured as dots, mostly behind her arms)

Pirate Queen Tetra

ph! about a year has passed, and tetra has really grown into her own! as well as literally grown!

shes still tetra, pirate and captain, but shes incorporated that royal heritage into her identity: quite literally! she made piecemeal of the original outfit (what was left of it anyway after the fight), and added bits and pieces to her new life.

she also takes full advantage of said heritage to call herself pirate queen. its great for branding. whos gonna say she CANT go by pirate queen?

the seagull feather is from Aryll. only crew member tetra wears a trinket from (who can say no to that ball of sunshine! certainly not tetra)

not many notes. yall can see whats there. (also she still wears her hair in a bun, its just in a low bun (you can almost see it) when she wears her hat)

st zelda!

first note is: shes not a princess! shes an heiress of the company tetra had made and left behind. hence her title of Lady zelda. ("new hyrule" rly just like-- the ending of ww was *literally* that hyrule is dead and thats okay. how did they miss that :sob emoji:) also calling her Lady Zelda fits with the train vibes

shes in a 1880s style bustle dress because 1) i am OBSESSED with bustle dresses. i love them. so much. 2) the more historical vibe works really well with trains! also a lot of the other outfits in the game have late victorian vibes, so shes certainly not out of place.

her hat (and gloves): any proper lady has a hat on when going about town, however, when she gets body snatched, she pulled out her hatpin to use (ineffectively) as a weapon (she IS tetras great-great-granddaughter), causing her to lose her hat *and* hairdo.

shes still got the hatpin in her ghost form, too. she uses it to threaten people for funsies

Ribbons! on the topic of hairdo, her ribbons! visually tying her to tetras design, the ribbons here instead take on the image of train tracks, with her pin (on the left side) evoking a train engine. the pin also makes her look rich and girly. when her hair comes undone, this makes the ribbons all loose, like how the train tracks disappear in game. (the hat also kinda connects her to tetra)

thanks for reading :D i hope you liked reading this as much as i liked typing it

Best of the Reptiles in Media - 01 - Godzilla (Monsterverse)

I figure that while I'm using this blog, I might as well post my ramblings on a subject dear to my heart: That being the representation of reptiles as characters in media. And not just villainous or vile ones like we're so used to. I'm talking about ones that inspire me. The ones that are legitimately compelling to me. And these posts are an excuse to espouse why.

Plus, it's just fun. You can thank the likes of @tyrantisterror and @bogleech for inspiring me to do these.

So who better to start with than with the lizard who's been an inspiration to me for almost my entire life. That being the one known as Gojira. AKA...Godzilla.

This is the one character in these posts who probably needs no introduction. Ever since his debut in 1954, the walking embodiment of the horrors of nuclear war, among other things, has been nothing less than an icon. This is the beast people think about when they hear "giant monster" or "kaiju". This is truly the King of the Monsters.

My introduction to Godzilla was a children's book called "Godzilla on Monster Island". It was a fun read full of neat monsters living together and teaming up to stop an evil plan. And it left me wanting more. I wanted more stories of these fantastic yet friendly beasts being friends and living together while having fun adventures. Little me was a bit disappointed to find that Godzilla spent more time fighting his fellow kaiju and trashing cities instead.

The truth, as I would find out, was that Godzilla is never just one thing. He is a fun defender of the Earth. He's the terrifying consequences of our tampering with both nature and science. And in recent memory, he's been a lot of other things. But most of the time, he's either hero or mankind's hubris on two legs. To me, he was a giant dinosaur that could fire thermonuclear breath, and that was all that mattered. It was after hearing about the historical significance of him that my respect doubled.

Back then, I would tell you that my favorite Godzilla from a design standpoint was the 2002 version. Personality wise, almost every Showa appearance post-1964.

But in 2014, everything changed. In came a Goji that seemed to have everything I could ask for. So, we're going to look at the one that resonates with me the most. The Monsterverse version.

That right there is perhaps one of the most awe-inspiring entrances I've ever seen in a cinema.

Before the release of Godzilla (2014), the franchise had entered something of a slump period. The last film was all the way back in 2004, and sadly, the kaiju genre was still something of a niche thing growing up. Here in America, you either liked superheroes or real-life celebrities as a kid. If you liked monsters, let alone giant monsters, you were one of the weird kids. That, or one of the kids who never lost their passion for dinosaurs. But those were rare.

Then Gareth Edwards unleashed this film, and while one could argue that Pacific Rim (2013) got the ball rolling, THIS ultimately resurrected the entire franchise of the Big G, and got him a degree of general respect from most film-goers (so long as you ignore the irritating internet drama regarding screen-time back then).

But let's get to the meat of this post. Why is this Godzilla so much better to me than the rest? A few things, really.

First off, there's Godzilla's role in the Monsterverse's narrative. For the most part, he is a guardian of the natural order, a means of bringing balance to imbalance. He is a metaphor for how nature is capable of righting itself, and how we either have to deal with it, or live with the consequences. In practice, Godzilla ends up going up against almost every monster, most of which are only a threat because we awakened them/created them. Yet despite this, he doesn't go out of his way to destroy us. He's not mindlessly destructive or particularly vengeful either. He knows we're a part of the world too. We just tend to grate a bit more on his nerves because of how much we screw up. If there's one thing this series isn't afraid to show, it's that...well, "the arrogance of man is thinking nature is within our control, and not the other way around."

Design-wise, this is one of the best Godzilla's around. He's bulky, has a killer stare, and there's something oddly endearing about how...well, meaty he is. He's like if my aforementioned previous favorite design, the 2002 one, put on both a lot of muscle and weight. It also ties into his fighting style, said to have been inspired particularly by bears. Even the sounds associated with him are amazing. From that hype-inducing charge of his thermonuclear breath to what might be the best rendition of the classic roar.

Then there is the body language. This Godzilla's usual gait is slow, almost plodding at times. He shows clear signs of exhaustion in some scenes. What he goes through is hard, and his job is even harder, but he still does it. It really helps sell his personality most of the time.

Part of why I like the Monsterverse so much is that, for the most part, the kaiju are treated as characters in their own right (that's not to say they weren't in previous iterations, far from it, but it's a bit more pronounced here than most of the post-Showa stuff). Sure, some films in this verse are better about it than others (more on that later...), but I like how you can glean what Godzilla is thinking of just by looking at his eyes. Of particular note is how they widen in "Godzilla: King of the Monsters" when Ghidorah gains the upper hand during the final battle, his absolute sneer of anger in the first movie when the male MUTO approaches him, or...this.

This scene. This one right here encapsulates so much of what I love about this iteration. Where Godzilla, dazed and thoroughly battered by both the fight with the MUTOS and having a building fall right on him, locks eyes with a tiny little soldier. You see a sense of tiredness, of pain, of acknowledgement, and maybe even a little wonder. This is not just some mindless beast fighting for its turf. It's a thinking being. And he's hurt. The most powerful creature on the planet isn't invincible, neither on the outside and definitely not on the inside.

And you know what? I've been there. There are times where I feel like I'm carrying the weight of the world, that there are things too heavy to bear, and its suffocating. Godzilla constantly shows throughout the Monsterverse that his job as a living balancing act is wearing on him. He gets put through so. Much. Crap. From getting buildings dropped on him to being personally dropped from a distance above the clouds to watching his symbiotic partner/mate die, it's almost unfair how we're expected to not really sympathize with him as much as...I'll get to that later.

But he never gives up. Despite all the pain and fatigue, he gets back up, and he fights. And he fights. And he continues until the deed is done. Someone has to rise to the occasion, and it might as well be him. If not him, then who?

That is the biggest reason I resonate with this Godzilla. His awe-inspiring design is one thing, but he gave me the strength to persevere. I don't give up, because he never did. Never before had the Big G been such a hero to me. Such that in 2014 I found myself silently sobbing to myself when it seemed like he was dead near the end even though that was clearly not the case. It's hardly a surprise that I based my personal Godzilla AU on him, albeit with the moer sympathetic traits dialed up. Stuff like this made G14 and KOTM some of my favorite kaiju flicks...

...which made it more than a little disappointing when Wingard took the helm and basically said "screw that, this is about the monke now!" Yeah, GvK is the weakest entry in the series for me for a reason. Godzilla's more redeeming qualities are buried under a narrative that clearly is not interested in giving him the time of day or even the benefit of a doubt. Both it and it's successor, GxK, are Kong movies through and through, and that means poor Big G is put out of focus.

I cannot tell you how much I HATE this idea that the only way a monster can be relatable is if it either looks almost just like us or is really cute. Yes, I understand the universal appeal, but they had such a good thing going for Godzilla! And they throw almost all of it away just so that they can make Kong look better by comparison.

Credit where it's due, these issues are slightly improved in GxK. It's not only firmly established that Godzilla is an overall benefit to the world for keeping the other Titans in check, but we get some interesting bits with him like how he instantly responds and prepares to answer the call of the Iwi and help them. It shows that despite his tenuous relationship with humans, there are ones he clearly gives a lot of thought to. And there's also how he makes the Roman Coliseum his own personal bed. Not only is it kind of hilariously adorable, but if you remember how in KOTM he had his own man-made temple, you get the impression that he has a bit of homesickness. That's the kind of thing I like to see! More of that and less "he's only ever angry and he only ever fights, character is for primates only".

Also, while the Evolved design has nice details, I WANT THAT GUT BACK! it just looks weird otherwise with that disproportionately skinny waist.

But thankfully, our prayers might be answered:

With GxK's roaring success (ha!), it's more than likely that the next Monsterverse entry will finally give Godzilla an overdue character arc that doesn't begin and end with "destroy everyone and act big and scary and nothing else". Just please make sure that he doesn't have to die to get that. There are plenty of ways you can make us invest in the guy's story without having to kill him. I WANT to see more of that emotional vulnerability teased across the movies. I want to see him come to terms with how he's been going about his job. And more importantly...I want to see a more explicit Mothzilla scene. A nuzzle and everything. But that's just me.

Whatever the quality of his current status, nothing is taking away how much I love this version of Godzilla. He's taken me out of some very dark places, and for that, I say long live the king.

Also, he brought Mothzilla into the public sphere and every Mothzilla pic made since is the cutest thing ever, so I just love him even more.

A SEQUEL. And this time with a lot of people I just. Do not draw enough of. Especially Shelby. It is a crime I do not draw her more.

(Reblogs with tags/comments are appreciated. Wordless variant under the cut. Thankyu)

truly what a guy

I'm thinking about how things change so much in act 5 from the way it normally is and how well that works from a story perspective? as well as how it feels in the game throughout the game things have been so good at making you feel like Siffrin, things that I think in a lot of other games wouldn't feel good/would feel like bad game design perhaps? but here, every time I would go "I feel so frustrated with this, will it ever end!!" and then stop and laugh a little because that's what Siffrin is experiencing - I want to talk about this at length, I want to write something longer about it eventually

But overall the game has stayed pretty much the same throughout the loops, the house is in the same order, the sadnesses do change a bit in the sense of ones we first met further into the house start appearing earlier, but besides that, and besides some small other things, it's mostly the same

Which I think overall makes sense from a game design decision, especially in a time loop game, where so much of the feeling and character emotions come from having been in the same two days for so long

But I must say that when I walked into the House the final time and things were weird, the rooms were switched around and the normal wall and pillar textures/geometry were bizarre and not how they normally are, that felt GREAT

It also really tied into something I want to talk more about in the future about the level design of the different floors, and how for the most part I knew the levels, there were some times I got a bit turned around, but mostly I had it down. And the final trip through the House felt, while occasionally somewhat frustrating, like a chance to demonstrate that I knew where things were, that I could guess which side corridors would now be on, or know which corridor was a step closer to where I needed to be, and there was definitely still trial and error but it felt like I wasn't completely lost and that was really neat

The other major difference that stood out to me was the music. Having the same music the whole time and not stopping and switching for combat felt fantastic. There is again a lot to be said about feeling Siffrin's frustration with this, but sometimes previously I would feel a bit irritated getting dragged into combat each time, and definitely part of that for me was the music transition. (This is not to say it is bad! Again, I have a lot more thoughts, and I enjoy trying to dissect why I had a certain response to things!!) but in the final trip through, the way there was continuity in the music 1. emphasized how different things were this time (also the music being different from the normal music in general, but I think the continuity/not changing for combat was even more impactful to me for this) and 2. led to the feeling of 'we are going, we are not stopping for anything,' of Siffrin's drive to get through the House on his own. And that was neat

And this is just stuff about the House, and not even all of it 😂

been thinking about the liyue gang and how id draw their physical builds so here are some thoughts i had for xy cy and gm in particular

- xingqiu, unsurprisingly, would be quite lanky. i like to think he has broad-ish shoulders, like a thin athlete's build? hes a long boy to me haha, long face, neck, limbs, fingers etc, so naturally hes stands (comparatively) tall at 5'6" or 5'7"

i like to think hes most physically attractive one and has that handsome princely and boyish charm to him because it adds a lot to his fuckass duality LOL

- chongyun is a lot like xiao imo! short stature but with muscular arms. he seems nimble and flexible because of his normal attack animations (which bears a lot of similarities to xiao's actually! this + the fact that chongyun's normal attacks create gusts of wind further reinforces my hc that xiao trains him). sometimes i watch high energy choreography vids on youtube and some dancers look incredibly light on their feet, almost like their body is inherently bouncy? and i imagine chongyun to have that agility to him. chongyun has a delicate face and aura and i let that bleed into my hcs for his fighting style and physical capabilities hahaha. hes kind of like a cat who's deceptively strong. as for height.. just a few inches taller than xiao, so perceptibly short at 5'4"

- ga ming my new beloved. pretty much similar to chongyun but more muscular and stronger just because he wields his claymore with ease. theres a noticeable weight different between cy and his claymore the way he lugs it up after he swings (or even other claymore users like razor who, on his last hit, bounces from impact). meanwhile ga ming literally slams his to the ground LOL. i love his movements though hes very swift and expressive and radiant.. if cy has delicate movements then ga ming's is fierce and (charmingly!) assertive

ga ming is wonderfully charismatic though, i know hes not well known in liyue harbor yet, but he seems like the type to gain a reputation from his friendliness. how could no one adore him hahaha. 5'5" for height! just between xy and xq

*through gritted teeth* what the fuck do people want from a resume

When I approach Yelan (or anyone else I've written), I don't just look directly at her character, but I also look at her surroundings. Both the ones that she knows by some semblance of necessity, but also those that she chooses. Like here, I talked about the Chasm, and what being 'okay' with existing down there needs to mean for a character, because it's not normal. Someone's surroundings, room, or home say a lot bout who they are and what their mindset, or specifically, their perspective is of the world. And sometimes, I think it says more about people than even the characters realize.

This brings me to the topic of the city of Fontaine. Now, I personally think it's rather obvious that a lot of the nation takes from historical France, and so when looking at it, I think it really adds to remember its monarchy, the view that the 'common folk' had of it, and its inevitable demise to non-existence today in terms of importance as a result. So my first question is, who constructed or decided on its layout? Was it Furina, Neuvillette, Egeria? Whoever it was, there's a lot that can be said about their view of the world and their placement in it when you look at locations of buildings. Look at where Palais Mermonia, its governing body, is located within the city; it sits at a rather astounding elevation in comparison to, well, everything and everyone else in the city. This frequently represents the concept of 'distance' between groups in one way or another, and seeing the consistency in other nations, this is something that is rather intriguing to me, especially keeping Fontaine's characters in mind (and considering this is the nation of 'justice'). Mondstadt has everything almost entirely uniform, with arguably the church on the highest level (but it isn't greatly elevated in comparison to all else), but it's joined with the plaza and statue which are a common gathering site for all people in the city. Liyue had the gods and adepti visibly living among the humans back in the days of the Guili Assembly for reasons of 'integration' (my apologies to numerous from our dear Guizhong!) The fact that numerous adepti now live far outside of the harbor is a different matter entirely, and the one who seems to function within a semblance of separation of sorts is Ningguang with the Jade Chamber (but I'm not one to speak on behalf of her character as I don't bear the knowledge). Inazuma also has the Tenshukaku at a higher elevation in comparison to the rest of Inazuma City. Sumeru is interesting, but ultimately Nahida was kept at the very peak of the city, far out of reach of humanity— but that's exactly the common denominator that has my interest, the distance between the 'governing body' and humanity for one reason or another.

But Fontaine really takes separation to a different level in my opinion (and again, think of this when you think of the person having designed the whole city), not only because of the above which I'll elaborate more on in a moment, but also its separation from the outside world. Now, this is interesting to think about if you keep in mind that it was perhaps done in eventual protection of the city's inhabitants in terms of the prophecy (which means that this would have been constructed anywhere during or after Egeria's reign), but then why is only Palais Mermonia far above the water's reach? If the walls surrounding the city were ever breached during said prophecy, all its inhabitants are pretty much immediately caught in the flood and would drown, which tells me nothing positive of the city's 'architect' or whoever signed off on the designs. But if not done for the prophecy, then why? Stand in the middle of the Court of Fontaine and really look around you, the only sights you really have of the outside world are the sky, and it's obstructed by a fair bit of the waterways and gardens that hang overhead, which you can only properly enjoy when you take the ages long elevator to the upper level where the palace is located (which, credit due, seems freely accessible to everyone in present-time). But if you don't venture up, how much of the outside world do you get to see? It feels very secluded, very much under lock and key. On some level (and this is one of the many reasons why I think that the Meropide is so excessively important in Fontaine and it's likely why we spent so much time there; it's all to show the ever, ever important contrast and nuance between this 'autonomous nation within Fontaine' and, well, 'Fontaine'), it almost feels like a prison, regardless of how pretty it may look or come across (and despite not 'lacking rights'). And considering how people in the Meropide speak of not always wanting to return back to the 'overworld' following their sentence, I think that there's definitely quite a bit of truth in that. But again, stand there and look around for yourself.

Now to return to the original topic, but keeping the last one in mind as well, look at one other thing that I'm unsure how many have really kept an eye on: the massive effect Palais Mermonia's level has on the rest of the area (inside and outside of its walls). Have you ever walked through the city of Fontaine at any given time of day or night, north to south, east to west, clockwise or counter-clockwise circling through it; have you ever seen how it overshadows an immense part of the streets below it either entirely on its own (which to me signifies a very domineering presence), or together with those outer walls that surround the city? I know how I've spoken thoroughly with people before about how much I enjoy Fontaine and how dark it is in its storytelling, but despite how gorgeous this region with its water- and landscapes are; its city bears quite a heavy weight to me. I don't know who designed it, or ordered it to be constructed in this way, but nothing about the city itself truly, rationally, shows a healthy perspective versus its citizens.

Me: /continues on to ramble in tags because I'm me and I'm a nuisance with always more to say than I know how to coherently put into these posts.

valentines day became a lot more fun and less agonising to me as an ace-aro person after it finally clicked over the past few years that whatever the fuck happens today is what i make of it, and that can and does include loving and appreciating the shit out of the friends ive decided i'd like to spend my life with in a way that i can define on my own terms not limited to the generic concept of romance. which i absolutely revel in doing, personally

I just woke up from a nap and while I was in the process of waking up I did briefly wonder if Persona 5: The Phantom X had just been a fever dream (derogatory)

I sure hope the mechs fans are fully prepared for all of the absolute bullshit I am about to pull with the Just Right Of An Evening followup because I just finished writing the base outline and HOO BOY

You guys BETTER vote for interesting stuff to happen to Lyf because the things I have lined up. 👀 they'd hate me so much if they knew I was doing this to them

What do you think about the lack of importance Edenia have in the last (and probably in the upcoming too) games?

Seriously, it makes me really Sad. Edenia was so important in the first timeline. What the hell happened? Only a few characteres mention this realm in MKX

It sucks. Big time

If you'll note, basically none of the realms matter anymore, aside from Earthrealm and Outworld.

Sure, the Netherrealm exists, but that's pretty much it. Dreamrealm is of dubious canonicity (introduced to explain Freddy Krueger as a guest fighter, then used to explain Tremor's glow up. Given he isn't shown in the storyline and arcade endings aren't canon in that game, I don't feel comfortable saying "yeah. That's important to the story"), and means nothing to the plot.

Chaosrealm and Orderrealm also don't show up despite being neat concepts.

What I'm getting at is that it makes the MK universe feel small. Edenia is only part of the problem, but I think it's a good example. Mortal Kombat feels more focused on nostalgia bait, Realistic Graphics, and more grisly Kombat than being, y'know, Mortal Kombat. None of that is necessarily Bad, but it's making it feel a little generic to me.

Maybe it's my bias and nostalgia, but that's just wrong. I'm not saying they need to bloat the worldbuilding, that would suck too. I'm just saying that they have these fun concepts, could they PLEASE do something with them???

Not to be the "they changed it, and now it sucks" guy, but I really love the original timeline's absurd worldbuilding. That's a major draw for me. Not only is it absurd, but it was constantly rolling and acquiring new and interesting bullshit. To me, that gave it a personality.

The original timeline feels like you took Enter the Dragon, the Matrix, Magic the Gathering, and classic slasher films, mixed it all up, then used it to bread and batter the gameplay. Deepfry that sonuvabitch until golden brown and serve it hot. Its the fried fish and hush puppies of gaming. I wouldn't say that it's Good For Me, but it's fucking delicious.

Its also not widely palatable and, just as Long John Silver's isn't exactly a big name restaurant, MK was kinda in a slump for a while, profit wise.

I think what happened is they cut back the weirder shit in order to make the games more popular. Its a chicken tender now. Not bad, but it's more of a "I'll take it if there's nothing better/nothing else I feel comfy eating" dish. Still not Good For Me, but often dressed up to seem healthier. By which I mean "able to be taken seriously by more people." The worldbuilding is more Serious ™️, so is the Gameplay. Don't get me started on the State Of The art Graphics.

Its all done this way for profit reasons. I don't doubt that folks on the team are still passionate about the games, but you can't forget that NRS is owned by a bigger company than Midway was. There's more executive meddling, so we see less of the more niche worldbuilding elements like Edenia

handful of ms paint doodles

drew how I would redesign the ddlc girls just for fun and also drew hifumi from danganronpa if he actually looked like a high schooler and wasn't designed with malice--- also just threw together Some Guy while I was in vc with my friend @maskelrat. idk who they are yet or what my goal was while drawing them but I like their vibe.

HAVE BEEN ROTATING Y7 ARAKAWA IN RGGO ARAKAWA'S DRIP IN MY MIND FOR AEONS YOU SEE THE VISION....................

Listen. I think. I think it would work. I think we could've still won. The physics probably would've been a pain, but if I think about it as an echo of the red iin his costuming in the play at the start, and link it back to how the plot of the play comes to represent part of his life, it would [unintelligible]

But no for real, the sliver you can see of the snakeskin on Jo and the fact it's the lightest thing you can see on his whole outfit feels purposeful. It's still incredibly funny to me that whole thing was treated as a twist at all. But.

And the progression on account of the timeskip is sick too from a symbolic perspective. It's things like the 2019 tie having the exact same pattern as in 2000, but it's also now the only real color in his entire ensemble, the purple from his shirt relegated to the tie and the pink completely gone. Hanging on to the past (although I guess this is more RGGJo's thing), forcing his "self" into a smaller and smaller space, that kind of thing. If we go with Sololiquy for a moment, maybe there's also something there about things being livelier when Ichi was around, for better or worse.

All the leather is ostensibly much more luxurious, befitting of his rise in status, but it's also burying him further in these additional layers of security. The gloves DO pull it together, and they also leave him basically completely covered-up from head to toe, which I can't help find fascinating.

So, you know, he looks sick with the gloves on, but there's also a different Flavor when recognizing he had them on the first battle when he was hiding so much from Ichi, but in the second battle, where he hopes to come clean, he's bare-handed ("Ichi-vision" notwithstanding).

And I think it's also worth recognizing that the gloves would've offered some protection when he went to grab the blade, but he grabs it anyway in his bare hand. With the amount of force you apply when you swing a blade and it actually connects, that'd hurt him just as bad, but it shows he's past the point of caring about what happens to him even before he says so. (I still think we should've probably seen his hand cut and bleeding when out of Ichi-vision, but y'know.)

Much to think about...

NO I SEE YOUR VISION I SEE WHERE YOU'RE GOING they could've done that.... true the physics would've been a pain but I think we can trade some of the effort that went into The Bread and put it towards the scarf and coat.....

The evolution of Jo's outfit in conjunction with the surrounding environment and circumstances really is mad interesting, and as someone who really enjoys 'storytelling' (idk if that's the exact word rn but i aint ever been good with words in the first place) through character design/wardrobe. Any note I coulda said you've already said for me, yet I still wish I had some more words to express how much I love the changes in his outfit and how it reflects himself and the story at that particular point 😷

Speaking of that trans one/pie/ce oc

Did I mention he's a obvious self insert bc I definitely should have by now. Like. Literally drawn as me if I was in the world of on/e/pie/ce, spoke to Ivankov, and also 7 years older. And I love him. Just wish he had a name... That's always the hardest part ;_;

What are your ultimate faves?

HRM if i had to pick ultimate faves i'd probably have to go with albedo thoma and eula :D which i probably dont talk a lot about but ahaha i feel like theyre the ones that probably haunt me a LOT which is particularly funny w thoma bc hes Just Some Guy BUT he is one of my comfort characters for a reason